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An Analysis of the Growth of San Francisco Bay Area Punk Rock online Max Buchholz Organizations, Institutions and Networks in Local Scenes: An Analysis of the Growth of San Francisco Bay Area Punk Rock RUPRECHT-KARLS- UNIVERSITÄT HEIDELBERG Issue 2018-01| Volume 14 EXZELLENZUNIVERSITÄT Spatial Aspects Concerning Economic Structures Economic Concerning Aspects Spatial www.spaces-online.com SPACES aims to present conceptual frameworks and empirical studies on online economic action in spatial perspective to a wider audience. The interest is to provide a forum for discussion and debate in relational economic geography. Please quote as Buchholz, Max (2018): Organizations, Institutions and Networks in Local Scenes: An Analysis of the Growth of San Francisco Bay Area Punk Rock. SPACES online, Vol.14, Issue 2018-01. Toronto and Heidelberg: www.spaces-online.com. Authors Max Buchholz, University of Toronto, Department of Geography and Planning, Sidney Smith Hall, 100 St. George Street, Toronto, ON M5S 3G3, Canada, E-mail: [email protected] Keywords Organizations, Institutions, Networks, Scenes, Punk Rock, San Francisco JEL codes D02 (Institutions: Design, Formation, Operations, and Impact), D85 (Network Formation and Analysis: Theory), R11 (Regional Economic Activity : Growth, Development, Environmental Issues, and Changes), Z1 (Cultural Economics, Economic Sociology, Economic Anthropology : General) Abstract Economic geographers have exhaustively acknowledged the importance of the cultural industries to many regional economies and have begun to establish that these industries have economically important interactions with local “underground scenes.” Less well known however is how these scenes themselves develop. Based on archival research on zines, or small circulation independently produced magazines, I illustrate how the 1980s San Francisco Bay Area punk rock scene was a vibrant cultural community. I demonstrate how what was once an underground scene becomes a commercialized one, with bands like Green Day and Rancid becoming hugely popular in the 1990s “wave” or growth of the genre. I develop a framework for understanding the growth of local scenes, arguing that the essential ingredients are achieving a robust mix of organizations, institutions and networks. Of particular importance are institutional practices of frequent communication and inclusivity and networks on both local and extra local scales. Editors: Harald Bathelt, Johannes Glückler Managing Editor: Sebastian Henn External Advisor: Heiner Depner ISSN: 1612-8974 © 2018 SPACES online. The authors maintain full copyright of the papers. 2 Organizations, Institutions and Networks in Local Scenes: An Analysis of the Growth of San Francisco Bay Area Punk Rock 1 Introduction San Francisco Bay Area punk rock in the 1980s is poorly understood in terms of its importance for the growth of the genre in the 1990s. A deeper analysis of punk in this period than has been done to date has important implications for the way we think about the 1990s explosion, and the role of underground music scenes in the generation of commercially viable ones. Moreover, music scenes are embedded in specific localities. While past works have focused on topics such as punk aesthetics and style (Marcus 1989; Marcus 1993) or punk economics (Goshert 2000; Thompson 2004), by adopting spatial and institutional perspectives, we can better understand the importance of both local proximity and extra-regional linkages in the actual formation of music scenes. Other work in economic geography has argued that underground scenes serve as an important source of information for more mainstream commercial activity (Cohendet et al. 2010), but the development of these scenes has received little consideration from economic geographers. My central contribution is to provide a framework of the mechanisms that facilitate the growth of robust underground scenes. In particular, I contribute to existing literature by demonstrating how zines1, which are frequently underappreciated in studies of punk rock (Schmidt 2006), were used as a channel for knowledge exchanges amongst punks and a means through which institutional practices and networks were created. Frequent discourse and inclusivity stand out as important institutions, and local, national and global linkages were all integral to the growth of the scene. The role of different types of organizations is also considered. Previous analyses of punk rock have tended to focus on well- known bands from the initial explosion of the genre in the late 1970s while often neglecting the “continuing life of the punk scene” after the initial explosion (Goshert 2000: 86). While the genre experienced a period of subdued growth in the 1980s (O’Connor 2008), a second explosion in the 1990s led to another wave of bands becoming popular nationally and internationally. Coming out of the Bay Area alone, Green Day, Rancid, AFI, Operation Ivy and a number of other bands all achieved widespread commercial success during this second explosion. The following analysis links these two periods and probes what was happening between these two landmark eras, arguing that doing so tells a much more complete picture about the growth of the genre as well as sheds light on the processes through which underground scenes develop. I excavate the role of both bands and the often more influential fans in creating the institutions and networks that expanded during this time. This intermediary period from here forward will be referred to interchangeably as the late 1980s to early 1990s or the “neglected decade.” It encompasses the time between the end of the initial “wave” of punk rock around 1980 and ends roughly with the beginning of the second one in 1994 when Green Day became hugely successful with their album Dookie which to date has sold over 10 million copies (Recording Industry Association of America 1 Zines, also known as “fanzines,” are small circulation independent magazines. Usually, they are not-for-profit and done entirely by one person though several larger ones such as Maximum Rocknroll, which will be described later, have multiple staff and writers. 3 2018). Among others, this album helped put the alternative, and notably punk, music scene back into the mainstream spotlight. The next section illustrates the importance of the cultural economy to economic development and San Francisco’s role in the industry, highlights the interdependency between commercial activity and underground scenes and develops a unifying framework for the development of local scenes. Sections three and four briefly describe the methodology and some definitions necessary for the rest of the paper. Sections five, six and seven present evidence from archival research on Bay Area punk organizations, institutions and networks respectively, and their roles in the growth of the scene. Section eight concludes with some final comments on the growth of local scenes, and how this growth both interacts with and is affected by the more commercial elements of the music industry. 2 The Economic Geography of the Music Industry and Local Music Scenes 2.1 The San Francisco Bay Area Cultural Economy In recent decades, the cultural economy, often interchangeably dubbed the “creative” or “cultural industries”, has been a major topic in economic geography, ranging from studies on the U.S. music industry (Florida and Jackson 2010; Scott 1999), film in Vancouver (Coe 2000, 2001) and Los Angeles (Christopherson and Storper 1986; Storper and Christopherson 1987), fashion in Toronto (Leslie et al. 2014) and Spain (Tokatli 2008), to name only a few. It has been extensively established that cultural industries constitute a non-trivial component of many countries’ national economies (García et al. 2003; Power 2002; Pratt 1997), play an important role in the development of many regional economies, and that large globally well-connected cities in particular are important nodes in the cultural economy (Lorenzen and Frederiksen 2008; Scott 2000). One of the hallmarks of the cultural industries is their strong tendency to agglomerate. In the U.S. context, only a limited number of cities stand out as major agglomerations. Markusen and Schrock (2006) show that artists are increasingly concentrating over time in the “big three” artist creating and/or attracting cities of Los Angeles, New York and San Francisco. According to Florida and Jackson (2010), San Francisco has the third largest number of people working in music among U.S. MSAs, as well as the largest number of musicians per square mile in both 1970 and 2004 highlighting its uniquely dense concentration of musical activity. San Francisco also has a particularly large agglomeration of independent music labels, tied in third place with Chicago after Los Angeles and New York for the number of indie labels (Scott 1999). Moreover, research has also suggested that musicians catalyze innovation and value added services in industries like information and communication technology (Power and Jansson 2004) and fashion (Hauge and Hracs 2010). Zeroing in on punk, Alan O’Connor shows that the Bay Area is vastly overrepresented in terms of headquartering punk labels across the United States (O,Connor 2008: Ch.2). Mordam Records, which for many years was possibly the largest indie record distributor in punk rock, also came out of the San Francisco. While it is difficult to determine what percentage of San Francisco’s cultural economy is related to the punk scene, it is clear that a) the cultural economy plays a non-trivial role in the national economy and b) that more
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